The smell of piss is so strong
It smells like decent bacon
Kevin's getting footloose on the overspill
Under the piss-station
Two pints destroyer on the cobbled floors
No amount of whatever is gonna chirp the chip up
It's the final countdown, by f**kin' Journey
I woke up with shit in my sock outside the Polish off-licence
"They don't mind" said the arsehole to the legs
You got to be cruel to be kind, shit man
Save it up like Norbert Colon
Release the stench of shit grub like a giant toilet Kraken
The lonely life that is Tory
I got an armful of decent tunes, mate
But it's all so f**kin' boring
Tied up in Nottz, Nottz with a Z, you c**t
Black t-shirts and state toss
Nobby's nuts, the rule of rough cuts
A to Z of nothing gets all the shiz
We are real, we are lucky, 20p in the 10p mix
Crab eyes, another lonely little DJ with no f**kin' life
Weetabix, England, f**kin' shredded wheat, Kelloggs c**ts
On bleak shiz, on our c*ck, the green light don't stop
The shit homegrown dealers of Berlin begging for lolly
And it's beautiful how the privileged still let 'em in
Tied up in Nottz, Shit!
And then the dealer's tipped up!
...Big up the riots!

When a band seamlessly genre hops as much as King Gizzard does, it’s hard for one to categorize them. This is part of their allure. Since their formation seven years ago, they’ve dabbled in Garage Punk, Baroque Pop, Bossa Nova, Raga Rock, and of course Psychedelic Rock. Flying Microtonal Banana, their ninth and latest release, sees the prolific Melbourne natives throwing us yet another surprise, this time coming in the form of alternate tunings: microtonal tunings to be exact, which is essentially taking the regular twelve notes per octave and doubling it to 24. It is an unusual concept in rock music and Western music in general, but one that is frequently used in India and the Middle East. The outcome of this tuning you ask? It is nine tracks of psychedelic quirkiness. http://spillmagazine.com/spill-album-review-king-gizzard-lizard-wizard-flying-microtonal-banana/

This song is written from the perspective of The Devil. He tempts people with sin and waits as they die and enter hell, which is where they "jump in the fire."
One of the earliest Metallica songs, this was the second single they released, after "Whiplash." Dave Mustaine, who left the band in 1983, helped write the song, earning one of his four composer credits in Metallica.
The song was included on Metallica's debut album, Kill 'Em All, and reflects the band's New Wave influences; drummer Lars Ulrich was quoted as saying that the song was inspired by Iron Maiden, whose hit "Run To The Hills" had been the most popular song on the radio at the time. Lars claimed that "Jump in the Fire" was Metallica's response to "Run to the Hills," and was intended to be their breakthrough single.

"The Fool" is a collection of songs that I have been working on for the past three years. In the bitter aftermath of music projects that never worked out during a transition period in my life , I questioned my motives behind making music. The title "The Fool" is the embodiment of what me and some of my friends feel towards the futility of writing music if you have decided not to dedicate your life to it. Is it just a remnant of our teenage selves? Again, only a fool would waste his time answering this question hence I decided to upload these songs.

Spectral Ascent is much more than something to bob your head to pleasantly, so if you’re looking for something that has many facets and that you can really sink your mental teeth into, this one’s for you.
Concurrent to the occultic themes on the album, there is a clear element for anyone really to grab onto; Spectral Ascent has multiple layers. On the album’s eighth track, Kabbalah’s singer puts the listener in the position of the character that was introduced in the first track and has been maintained, in various capacities, throughout the album, singing, “You keep searching for an answer; You’ve watched the darkness fall; And you heed its siren call; That shadow falls upon you.”
The album ends on a slightly more upbeat note musically speaking than it opened up with. The production sounds at times as though it is from decades ago, when the musical influences that converge in Spectral Ascent began to make their mark in the modern era. Although it could thereby feel antiquated, it works well.
http://newnoisemagazine.com/review-kabbalah-spectral-ascent/#

"Lightning to the Nations" is the title track from Diamond Head's self-released 1980 album. Lyrics are written by Diamond Head lead Sean Harris, instrumentation is pretty much a collaboration of the entire band (at the time) of Sean Harris, Colin Kimberly, Duncan Scott, and Brian Tatler. Listening to the electrifying guitar work, it's easy to see why heavy metal magazine Burn! ranked Lightning to the Nations the third best riff album of all time, just after Black Sabbath's Master of Reality and Slayer's Reign in Blood.
How old were the band members when this song was recorded? Tatler, Scott, and Harris were 19, Kimberly was 20. Says Harris of this time: "We didn't know s--t." Unfortunately, their inexperience was taken advantage of by their manager Reg Fellows. Fellows, who owned a cardboard factory, was responsible for the low-quality first album issue (aka "The White Label Album"), and would go around afterwards reselling the album under various names (Am I Evil?, To Heaven From Hell, Behold the Beginning), even with different cover artwork. The band has since been vocal in protesting how they'd been exploited. [...]
http://www.songfacts.com/detail.php?id=18888

This song begins with a bass riff by Gene Simmons. He recalled the story of the song to Classic Rock magazine: "I read a book called 100,000 Years where 100,000 years ago we were visited by aliens," he said. "Also Einstein's theory of relativity. I was reading all kinds of space and time continuance stuff, and it was all swirling around my head."
"I showed this stuff to Paul (Stanley), and he's going: 'What's 100,000 years?' I said: 'Let's just try it.' And then Paul came up with some stuff and I added the riff."
http://www.songfacts.com/detail.php?id=32834

[...]While they do combine elements of Scandinavian folk, jazz, and Krautrock this is put together in a softer and more subtle way. This is more Progg than Prog.
One of the key lessons that I think I’ve learned as part of this musical journey is that you should not discount something because of its label. I’ll admit that I’ve not been too enamoured with jazz in the past, but am getting over that and there have been a few heavily ‘jazzed’ albums that have have come to love in recent years (as well as some of the jazz classics), and this album could certainly be categorised as such.
[...]This is a great album to just sit and receive, not too stuck on one style of music and just eclectic enough to make you want to put it on repeat. For me it is one of those ‘outliers’ that you get now and again that are utterly indefinable, but are just put together in a way that make a weird sort of sense and just work for all the right reasons.
https://psychinsightmusic.com/2017/04/10/album-review-in-a-brown-study-by-soft-power/

What you gonna do? Time's caught up with you
Now you wait your turn, you know there's no return
Take your written rules, you join the other fools
Turn to something new, now it's killing you
First it was the bomb, Vietnam napalm
Disillusioning, you push the needle in
From life you escape, reality's that way
Colours in your mind satisfy your time
Oh you, you know you must be blind
To do something like this
To take the sleep that you don't know
You're giving Death a kiss,
Oh, little fool now

Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do.The band's trio of independent late-'80s records -- EVOL, Sister, Daydream Nation -- became touchstones for a generation of indie rockers who either replicated the noise or reinterpreted it in a more palatable setting. As their career progressed, Sonic Youth grew more palatable as well, as their more free-form songs began to feel like compositions and their shorter works began to rock harder. During the '90s, most American indie bands, and many British underground bands, displayed a heavy debt to Sonic Youth, and the group itself had become a popular cult band, with each of its albums charting in the Top 100.
"Sunday" was released on April 23, 1998 by record label Geffen as the first and only single from their 10th studio album, A Thousand Leaves. It reached No. 72 in the UK Singles Chart.The video for "Sunday" was directed by Harmony Korine and starred Macaulay Culkin and Rachel Miner. The video made liberal use of slow- and fast-motion cameras and images of ballerinas dancing.